In the immortal words of Ferris Bueller, life comes at you fast. In this case, it was 10 years that came at us fast – for it was 10 years ago that I wrote the piece linked below about one of the seminal albums of the 1980s. Those 10 years have allowed for additional perspective to develop.
If anything, my appreciations for this album has only grown. As the original piece notes, 90125 brought in scores of new fans of both Yes the band and the genre of prog in general. In the latter area, I would be hard pressed to name an album whose ripples had more of an effect than 90125. Moving Pictures from Rush might give it a run for its money, but that’s the only one I can name that’s really in the same ballpark. 90125 attracted millions of fans who would have had no reason to pay attention to the genre and who now are aficionados of the same.
Many people (myself most definitely included) love to talk about albums that had a lasting impact. Sgt. Peppers by The Beatles is certainly one that gets a lot of ink spilled, as does Led Zeppelin IV and Pink Floyd’s Dark Side of the Moon. And by Yes themselves, Close to the Edge is often cited as an album whose impact has continued to resonate long past its release date. And now, 40 years after its release, I think its time we put 90125 on the same shelf. And now, let’s move onto the main topic of discussion to learn some of the reasons why.
Brad Birzer, Carl Olson, and Tad Wert are all big fans of Bruce Soord (check out Brad and Tad’s earlier dialog on the deluxe reissue of The Pineapple Thief’s first 7 albums!). Bruce has released his third solo album, Luminescence, and so, of course, we had to share our thoughts on it.
Tad: Brad and Carl, I really enjoy Soord’s solo work; sometimes I think he saves some of his best songs for it! They tend to be more lowkey and relaxed than his music with The Pineapple Thief – more straightforward rock/pop. I’ve been listening to Luminescence quite a bit, and I find it very charming. “Olomouc” is a winner, in my opinion, with its lush string accompaniment. On the other hand, the stripped-down (and aptly titled) “So Simple” is a real gem of acoustic beauty that ends too soon. What are your first impressions?
Carl: Gents! A couple of quick thoughts about Soord’s impressive, beautiful album. I expected it to be “good,” but I’ve become a bit obsessed with it, having now listened to it at least 30 times or more. The songs are subtle, but perfectly constructed. The playing and production are both exceptional: warm, intimate, engaging. There are a lot of layers, but also a lot of space, which is no small feat sonically. I especially like the combination of electronica sounds and beats with acoustic guitar (see “Lie Flat”). Vocally, Soord is both understated and emotive in perfect pitch (both musically and emotionally). Who knew a “prog” guy would create such a remarkably good pop album?
Brad: Tad and Carl, great to be talking with you both! And, what a beautiful album to discuss. I only started listening to it about a week ago, but I’ve been listening to it non-stop. Carl, I will admit, I’m not surprised that Soord–a prog guy–could create such a remarkably good pop album. The album, for what it’s worth, reminds me very much of mid-period Tears for Fears, especially Raoul and the Kings of Spain. Soord, like Roland Orzabal, is really a master of mixing beautiful melodies in complex ways. Tad, I think “charming” is exactly the right word for this album.
Carl: I cannot speak to the Tears for Fears comparison (although I completely believe you!), but will bring up two artists that this album brings to mind, in very positive ways. The first is Charlie Peacock, a very eclectic American singer, songwriter, producer, keyboardist, etc., who is known for his work in contemporary Christian music, but has worked in jazz, country, Americana, and more. He’s a brilliant producer/writer, as can be heard on the 2021 album “Skin and Wind,” which mixes electronic and acoustic instrumentation—including strings—brilliantly, in the service of concise songs filled with longing and questioning, just like Soord’s fabulous album. The other is the better-known Duncan Sheik, especially his first three albums (1996, 1998, and 2002), which were quite successful commercially. Their voices are similar, and songs such as Soord’s “Instant Flash of Light” is very “Sheik-ish,” right down to the really lovely small chamber strings. These comparisons are, in my book, very high compliments.
Tad: Holy cow, Carl, your evocation of Charlie Peacock brought back some nice memories! I was very much into his music in the early to mid-90s, and now that you mention it, there is a lot of similarity between his style and Soord’s. And, Brad, you also made a connection I hadn’t thought of, but is very true: TFF’s Raoul and the Kings of Spain is a worthy ancestor and influence of this album.
Carl, you mentioned Soord’s use of electronica, and I’d like to jump off of that to say a little bit about another song I really, really, like: “Nestle In”. It begins with a police siren wailing, and as it becomes slightly distorted, a gentle wash of electronica begins to pulse. Soord’s vocals are mixed up front, and if you listen on headphones, it’s as if he were singing right at your shoulder. Whoever is playing drums on this track is outstanding – beautiful fills as Soord sings “The storm is approaching/And no one dares to look”. The distorted siren returns, and the song is over. I know my description makes it sound like it is cacophonous and noisy, but it isn’t at all. It’s oddly comforting, as a song entitled “Nestle In” should be.
Brad: Tad, the first time I heard “Nestle In,” I was immediately sure that a police car had just passed by, and I offered up a quick prayer for the person involved in whatever altercation there might be!
Then, I realized my mistake.
Also, Tad, I should note that I think both Orzabal and Soord share an absolute earnestness in their music. I especially think the influence is strong with Tears for Fears’ “Falling Down,” arguably the most earnest (the beautiful) song Orzabal has written.
Carl, thanks, too, for such good insights. I’m not familiar with the artists you mentioned, but it sounds like I should be.
I must admit, as much as I love the entire Soord album, I’m most partial to the album opener, “Dear Life.” The song just immediately grabs me and wants me/begs me/asks me to listen to the rest of the album.
I like the lyrics, too:
This sight
Barely changed
Just the shadows cast over our remains
With the wounded leaves
We’re still clinging on for dear life
Don’t wish it away
Don’t wish that it will all be over
In the sweetest blink of an eye
This light
The reddest glow
Barely time to dry those saddest eyes I know
After all we have seen
We’re still clinging on for dear life
For this dear life
They’re not only nice lyrics, but they match the music, perfectly.
Carl: All three of us had a similar experience with “Nestle In”! I live in the country and we never heard police sirens. But when the song first came on, I was out of my chair and opening the door: “What is that…?” I continued to be really riveted by the combination of intimacy and space in this album. Tad, you highlighted this perfectly in saying it’s like Soord is singing at your shoulder. It would be fascinating to talk to Soord about how he recorded and produced the album. It sounds so incredibly good.
Every song is excellent, but “Lie Flight” is probably my favorite, at least at the moment. It’s deceptively simple, but with a wonderful drums/bass sound that really locks you in. I tend to like lyrics that allow multi-interpretations/levels, and these certainly fit the bill:
Finally I’ve made some sense of it all
How could I not have known this all before?
I’m coming home
Is it too late for me?
It plays so differently with one eye on the soul
It could be about a romantic relationship. Or could it be about something more spiritual, pertaining to God and transcendence? “It plays so differently with one eye on the soul” is so good; it’s both simple and very mysterious. And maybe that’s this album’s greatest attribute: it’s immediate and accessible, but really mysterious at the same time.
Tad: Okay, since we began this discussion, I bought a hard copy of Luminescence (if I find an album I really love, I don’t trust streaming services to keep it always available). I’ve had some time to go over the lyrics, and they seem to be documenting the collapse of a relationship. There is a consistent theme of loss and regret running through every song. However, I like the tack you take, Carl, and I’m going to assume there’s a higher yearning involved here.
Also, that drummer I singled out for praise is Soord himself! The only instruments he doesn’t play are the strings that accompany him on several songs.
I have one more thing to add to our conversation – I have fallen in love with two songs near the end of the album: “Stranded Here”, and “Read to Me”. To my ears, they go together, because the acoustic guitar line from the former flows seamlessly into the latter. Soord has overdubbed a couple of acoustic guitars in this mini-suite, and their interplay is simply wonderful.
Gentlemen, it looks like this is a good place to wrap things up. Gentle readers, please take our advice and give Bruce Soord’s Luminescence a listen!
Here’s the video for the first single, “Dear Life”:
The Mommyheads share video for “Coney Island Kid,” prog-influenced title track from new album
New album Coney Island Kid out now! Photo Credit: Steve RoodProg-pop cult heroes The Mommyheads have released the most ambitious album of their nearly four-decade career, CONEY ISLAND KID, out now via FANFAR! Records in Europe and Mommyhead Music for the rest of the world.
CONEY ISLAND KID marks the venerable NYC-based band’s 15th studio LP and first-ever foray into concept album terrain. Now, the band are pleased share the video for the title track and opening track from the new album.WATCH THE VIDEO FOR “CONEY ISLAND KID”ORDER THE ALBUM CONEY ISLAND KIDGuitarist, singer Adam Elk on the “Coney Island Kid“: The Video for ‘Coney Island Kid’ is a combined edit of 7 different shows from our Sept 2023 tour of Sweden and the US North East. ‘Coney Island Kid’ kicks off the album and firmly establishes the main character as a survivor, witness, fighter, protagonist and escape artist. It’s a 6 minute sonic subconscious deep dive into my childhood neighborhood that hopefully taps into those intense emotions most listeners have for their early memories. Love or hate the place you come from, your feelings for it will eventually need to be addressed to truly understand who you are. We did our best to conjure up the smells and sounds of Coney Island with music and sound design.”THE MOMMYHEADS CONEY ISLAND KID (FANFAR! Records / Mommyhead Music)Tracklist: Coney Island Kid Artificial Island Spookarama Solemn By The Sea Suburban Office Park Learning To Live Why Aren’t You Smiling Such Beautiful Things Onset, MA Soul’s AquariumWATCH THE VIDEO FOR “WHY AREN’T YOU SMILINGLast year saw The Mommyheads reaching new creative heights with GENIUS KILLER, hailed by Bay Area alternative newsweekly The Bohemian as “a tight, self-assured affair that sounds all the more youthful for its maturity.” CONEY ISLAND KID continues in that tradition, opening with an eclectic suite of technicolor prog-pop that uses archetypal Coney Island imagery to convey themes of desperation and soul-searching, complete with pier side ambience.
The skeletal acoustics on “Spookarama” call back to the whimsical woodsy gloom of 1989’s now-classic debut, ACORN, while elsewhere, songs such as the epic title track (arguably the closest the band has come to full-on interpolating Genesis) and the angelic tone poem, “Onset, MA,” see The Mommyheads continue to gracefully channel existential anxiety and progressive influences in equal measure. Having devoted a lifetime to evolution, both in terms of sound and the ever-increasing scope of their ideas, CONEY ISLAND KID stands as perhaps the most cohesive representation of The Mommyheads’ glorious eccentricities thus far.THE MOMMYHEADS: WEBSITE | FACEBOOK | TWITTER | YOUTUBE
In this crazy post, Tad and Brad think hard and deep about Spock’s Beard’s fifth album, appropriately named V. Tad and Brad (my gosh, we rhyme) think the world of this album. As Tad will note, it’s what brought him back to the genre of progressive rock, and Brad will affirm that he loves all things, Spock’s Beard, never having actually left prog rock. Indeed, if truth be told, Birzer thinks that he first encountered Spock’s Beard, THE LIGHT, sometime in 1994, even though the official literature claims a 1995 release date. . .
Brad. My gosh, it was 2000, that year of mystery and chaos that saw the release of the fifth Spock’s Beard album, V. The album, even subconsciously, seems to think that prog needs a new release, a new introduction to the world. Even the opening track wants to invite all new adherents to all things proggy.
At the end of the day, you’ll be fine!!!!!!!!!!!!!!!!!!!!!!!!!
And, to be sure, prog was coming into its third phase. Spock’s Beard, The Flower Kings, and Porcupine Tree had all ushered the genre into its newest phase.
Tad: Brad, it’s hard to believe that V is more than 20 years old! Yes, this one album reintroduced me to the world of prog. I still remember exactly how I discovered it: at the time I read Mojo Magazine regularly, and they had an issue with a Genesis cover story. There was an inset article about “current prog artists to check out”. One of them was Spock’s Beard, so I went to Tower Records (remember when there were record stores?) and, low and behold, there was a copy of V. I popped it into my car’s CD player, and I couldn’t believe the incredible music that poured out!
Up to that point, I was listening to practically every style of music except prog. In high school, I enjoyed Yes, Genesis, ELP, Jethro Tull, Pink Floyd, etc., but once the 80s hit, I quit following that genre. I was flabbergasted to hear a band like Spock’s Beard unapologetically playing progressive rock, but with an updated, contemporary sounding style.
I think what impressed me the most was Neal Morse’s gift for melody. He obviously loved the Beatles, but he didn’t imitate them. Rather, he incorporated their sense of harmony and melody into massive epics that never seemed overlong. I remember in March of 2021 we went down to Florida for Spring Break, and all I listened to for a week was Spock’s Beard! And from there an entire new world of music opened up for me.
Brad: Wow, Tad, what a wonderful memory. Florida and Spock’s Beard! Very nice.
In the early 1990s, I remember wondering what had happened to progressive rock and encountering–through Tracks Records in Bloomington, Indiana–a revival of the genre through Spock’s Beard, The Light.
As I noted above, it seems–at least in memory–to be sometime in 1994. I was a graduate student at Indiana University, then, and I was quite the customer for Track’s. I remember the manager telling me about The Light, but I remember it in the fall of 1994.
For whatever reason, SB remembers the albums as coming out in 1995. Somewhere–and I don’t know where–there’s a discrepancy. At the time, I was thrilled with The Light, and I wanted more. From that point forward, I followed the band. Except for the embrace of the f-word, I absolutely loved The Light.
It’s funny, but since the band was so abrupt in its language, Neal Morse has since sent out a warning about the music. Honestly, though it was his attack on Catholicism–especially through his album Sola Scriptura, that warned me more than his embrace as had the f-word. I don’t mind my kids hearing the f-word, but it was his attack on Roman Catholicism that really chilled me.
As it was, the band, Spock’s Beard, produced some great prog rock and some real straight-forward rock after 1995. It was V, however, that really reminded us all that progressive rock was not only alive but thriving. It was, by far, the most progressive album the band had released since its second release, Beware of Darkness. Yet, to be sure, V is nothing compared to its successor, Snow, which really embraced not only progressive rock, but the Catholic Church (its priests, in particular) as well.
When V came out, I was blown away,. Album number 5 from the band was simply brilliant, and I was so glad to have the progressive rock genre come back in full force. Indeed, when you bring into account the early Flower Kings, it and Spock’s Beard really introduced us to the third wave of progressive rock. Both, somehow, brought us all into the fold of a whole new take on the classic genre.
Tad: Before we get into discussing the music, I want to give a shoutout to the artwork. At first glance, it looks like a businessman walking in a desert past a traffic sign (a sideways V) telling him to go forward while a forked lightning bolt (making a V) pierces the sky behind him. But on closer inspection, you realize he has two shadows (making a V), he must be on an alien planet! The whole scene is worthy of Hugh Symes’ best work for Rush. I love it!
Brad: Agreed. The art is excellent and reminiscent of Hugh Symes. A wonderful comparison.
What surprises me most, however, Tad, is how much of a solo album for Neal Morse this fifth album from Spock’s Beard actually is. If we take the liner notes seriously–and I have no reason not to–Morse wrote every lyric and every song with the exception of the excellent. THOUGHTS (Part II), the most Morse-like of all the tracks! Indeed, the original “Thoughts” appeared on the second Spock’s Beard album, Beware of Darkness, and is credited to. . . no surprise. . . Neal Morse! Indeed, looking over the first six Spock’s Beard’s albums, what is shocking is that all seem to have been written by Neal Morse and Neal Morse almost (not always) solo!
This means, of course, that V really is a Neal Morse album with Spock’s Beard as a mere backing band. I will admit, I’m rather shocked to realize this. I had always thought the band contributed much more to Spock’s than this.
As such, Testimony is a Neal Morse album without Spock’s as a backing band!
That said, and attributed, Spock’s Beard V is an astounding album, whether a Morse album or not. Everything just works perfectly on V. The art, the lyrics, the music, the sequence of songs. All of it, just perfect.
And, though Morse wrote all of this, I’m quite happy with the band. Nick D’Virgilio is especially great at drumming so appropriately for this album.
Tad: Yes, the first six Beard albums were almost entirely Neal Morse projects. I have a DVD, The Making of V, that chronicles his production of V, and it’s very illuminating. It’s clear he has a very specific vision of how he wants every song to sound. He meets with each member of the group to go over their parts. They make minor suggestions, but by and large he is calling all the shots. Even that little woo-wah guitar sound that Alan Morse makes 12 minutes into “At The End of the Day” is due to Neal’s urging.
Speaking of “At the End of the Day”, let’s dive into the songs on this album. “At the End of the Day” is one of my favorite opening tracks, ever. It has it all – driving rock, acoustic passage with soft vocals, and time changes all over the place! At 16:28 in length, it’s not a quick listen, but the time flies – I never get fatigued whenever I listen to it. As with every Morse composition, the catchy melodies fall over themselves as they spill out of my speakers – they are endlessly engaging and captivating. I love this song!
You mentioned “Thoughts (Part II)”, and this song led me to explore the music of classic Gentle Giant, because somewhere I read that the a cappella sections were inspired by that group (I think by “Knots”, off of their Octopus album). I also hear a lot of Kansas in this song. It is another highlight.
Actually, there isn’t a bad track on V. I skipped over “Revelation”, but it deserves some praise – at first listen, you think it’s a relaxed, soft rock ditty, but then it morphs into some of the heaviest rock Spock’s Beard ever produced.
Even though V was only released on CD, I’ve always thought of “All On A Sunday” as kicking off “side 2”. This is such a happy, welcoming song for me. Once again, Morse’s gift for a catchy melody really shines here. “Goodbye To Yesterday” is more sombre, but still beautiful. This song is a showcase for the Beard’s knack for gorgeous vocal harmonies. You can hear how good a singer Nick D’Virgilio is here.
I’ve rambled enough – you’re our resident lyrics expert; what do you think of Morse’s words on V?
Brad: Tad, thanks for such good thoughts. I think your analysis is simply awesome. Fantastic. The DVD “The Making of “V”” sounds excellent. I’ll have to check it out.
I must admit, Tad, when it comes to Neal Morse lyrics, I’m always a bit conflicted. I love his music–composition, tone, flow, etc.–but I find his lyrics less persuasive as it were. Some of this is simply poor bias on my part. I loved the music of The Light, but I was less than taken with the lyrics. As mentioned above, I just think the “f-word” is totally avoidable in songs. To me, its employment is always and everywhere a sign of a lack of imagination. Since then, I’ve been skeptical about his lyrics. I especially disliked the lyrics of Sola Scriptura.
Specifically, as to V, however, I generally like the lyrics, though I find them–again–unpersuasive. When I listen to Big Big Train, for example, I always assume my prevailing attitudes and ideas will be challenged. As I hear V, though, the lyrics are just random words that sound good with the music. In no way have I been challenged in basic assumptions or ideas. I’m more moved by the insertion of a dirty organ than I am by the words.
Here’s section III of the “Great Nothing.”
Come up breathing Up from the water Man, he was so submerged Where’s the feeling?
It must be way under Far from the spoken word
No, no – no corporate ladder No hometown parade The fat cats just keep getting fatter What does it matter The thing must be played…
One note timeless…
Don’t let the buzz get you down Don’t lose your memory or you’ll sink fast and drown But you can’t seem to sleep for the thoughts in your mind Since you can’t stand to think you have one hell of a time Hanging with submergers you drink yourself blind You think it’s fine
You’ve got time…
What is this all about? I have no idea, and, worse, I’m not that interested in knowing or figuring it out.
Again, Tad, don’t get me wrong. I really like Morse’s music, I just feel less taken with his lyrics. An exception to this is his lyrics for Testimony and Testimony 2. I loved and devoured these lyrics–as they told a story.
Tad: Brad, your points are well taken. As far as the lyrics to “The Great Nothing” go, I believe Morse wrote them as a tribute to his friend and fellow musician, Kevin Gilbert. He was enormously talented, but the music industry never knew how to promote him. He died not too long before V was recorded.
As I’ve mentioned before, I have a hard time paying attention to lyrics , except as they add to the overall sound of a song. It’s a failing of mine – I’m too lazy to get into them! Like you, though, I don’t have a lot of patience for gratuitous profanity when it occurs.
As far as “The Great Nothing” goes, I think, musically, it is one of the greatest songs Spock’s Beard ever recorded. It is one I never tire of listening to, with its various sections of melody. Dave Meros’ bass is outstanding on it, as is Nick D’Virgilio’s drums.
There is one section (the “You missed your calling” one) that sounds like something Paul McCartney could write – it’s that catchy. When I first heard this epic, I had to stop what I was doing and hit “Rewind” on my CD player several times!
They say that hindsight is 20/20, but I get the sense that Morse intended for V to close a chapter in Spock’s Beard’s career. I couldn’t wait for the next album, Snow, but I was very disappointed with it. It sounded so different from anything else they had recorded, and the story kind of creeped me out. Like you, I thought Testimony was a tremendous album – one of Morse’s all-time best. But that’s a topic for another post!
Brad: Thanks so much, Tad. You have excellent responses, of course, and I had no idea that Morse was referring to the work of Kevin Gilbert. Next time I listen to V, I’ll keep that in mind.
Tad: It’s always a blast to bounce thoughts and reactions with you, Brad! I hope our readers take some time to listen to V. It is not available on Spotify (apparently Morse doesn’t like their payment structure), but it is on Apple Music. Here is “The Great Nothing”, via YouTube:
In this post, Tad and Brad are joined by Kevin, as we assess the brilliance of Ultravox’s 1981 masterpiece, Rage in Eden. By the way, Tad usually does these intros, so forgive me (Brad!) for making a mess of it.
Brad: Tad and Kevin, so very glad to be doing this review with you. I have a feeling this will be a long one. It was, I must admit, Kevin who really introduced me to Ultravox in the fall of 1986, our freshmen year at Notre Dame. I had, of course, heard of “Vienna” as a single, but I knew very little about the band.
After telling him how much I loved progressive rock (especially Genesis, Kansas, and Yes), Kevin introduced me to Vienna (the album), Rage in Eden, Quartet, and Lament. I must reveal–I feel deeply in love with all of them, but especially with Rage in Eden and Lament.
At the time, Kevin mentioned to me that he loved the lyrics so much he hoped, one day, to write an entire book about “The Thin Wall.” This notion, of course, caught my attention.
But, I must also admit that my love of Ultravox has been deeply personal, too. I was a huge fan of Quartet, and I was listening to it when my wife and I drove to the hospital to deliver our fifth child way back in 2007. She (our baby) died in childbirth, and I still can’t listen to that album. I tried again, recently, and it only brought up terrible memories. In a weird way, I say this as a compliment to Ultravox, as the music means everything to me.
Relatively recently, though, Steven Wilson has remixed and remastered Midge Ure-era Ultravox: Vienna; Rage in Eden; and Quartet.
Tad and Kevin, what do you guys think of Rage in Eden?
Tad: Brad, I am looking forward to discussing this classic album with you and Kevin! I had just begun my junior year in college when it was released, and I still remember my jaw dropping when I first heard the urgent synth beat to “The Voice” fading in to full volume.
By fall of 1981, I was totally immersed in British new wave music, and I loved artists like Thomas Dolby, Gary Numan, The Human League, Depeche Mode, ABC, Howard Jones… well, I could go on forever! Anyway, to my ears there was something that immediately set Ultravox apart, and Rage In Eden became an album that transcended its moment in pop history. I think what struck me the most was the warmth of their music, which arose from three elements: Midge Ure’s powerful baritone vocals, Warren Cann’s excellent drums, and Billy Currie’s violin.
Other synthpop artists, like Gary Numan or Orchestral Manoeuvres In The Dark, could come up with killer hooks, but they also sounded cold and brittle. Ultravox had awesome synth lines that cracked and boomed, but underneath them was a human presence that lent their music accessibility.
Okay, I’ll stop for now and give Kevin a chance to jump in!
Kevin: Thanks Tad. So glad to be a part of this discussion. I came a bit later to this Ultravox album. I was intrigued by the Ultravox when I first caught the video for “Vienna” probably around 1982 or so. Not long after seeing it I found a copy of the album at Hogwild Records in San Antonio. I was completely taken with the sound. And shortly after that a musician friend suggested Rage in Eden. Upon hearing Rage In Eden again today I had the same uncanny sense about it that I was so drawn to so many years ago.
On the one hand, they are unmistakably a part of the early 1980’s oeuvre. The synth sounds by themselves place them among the artists you mention, Tad. And I would agree that unlike Numan and OMD, Ultravox had a warmth and a power that was much more appealing. And Midge Ure’s theatrical way of writing really sets their music apart. The textures and the lyrics are very much about establishing a sense of place and story. It’s as if you’ve stepped into the pages of a novel and UV is providing the soundtrack. And his stories and vocal delivery are so compelling that even after so many years the music is remarkably fresh and engaging.
Another thing that struck me when listening to Rage in Eden again, was the guitar work. The synths are clearly present throughout the mix, but it’s Ure’s guitar that really sets them apart from the schtick of the typical keyboard band. It’s the great blending of his angular phrasing and the sharp tone that shape the overall sonic impression. No doubt he and Edge (U2) were listening to each other, but Alex Lifeson and Geddy Lee of Rush were too. Ultravox was breaking new ground.
Brad: I’m in full agreement with you both. I love the music on Rage in Eden and I also think it’s angular, but I must admit, it’s the lyrics that do the most for me. Take the lyrics to the title track:
We sit and watch these lifeless forms Stark and petrified The high suspense of an empty stage drawing in clutching to its breast With murmured words we sigh and focus on the main facade
Beyond the hard reluctant windows News from magazines We wrote their names on books we’d borrowed as if to bring us closer still And threw it all away to focus on the main facade Rage in Eden jigsaw sequence But no-one could see the end
And they were the new gods And they shone on high Their heavy perfume on the night sucked them down in red tide All is through the looking glass focus on the main facade Rage in Eden jigsaw sequence But no-one could see the end
Disciples of the new way Portraits in the new sand See when they run their longest mile holding caps in wet hands Eyes upon them try to focus on the main facade Rage in Eden jigsaw sequence But no-one could see the end
These lyrics are simply astounding. As many times as I’ve listened to this album since 1986, they continue to grab me, wrestle with me, and turn me into something pathetically receptive.
Or, even better, the lyrics for “The Thin Wall,” here with Bovine Grace!
The sound is on the visions move The image dance starts once again They shuffle with a bovine grace and glide in syncopation Just living lines from books we’ve read With atmospheres of days gone by With paper smiles The screenplay calls a message for the nation
And those who sneer will fade and die And those who laugh will surely fall And those who know will always feel their backs against the thin wall The thin wall Thin wall
Grey men who speak of victory Shed light upon their stolen life They drive by night and act as if they’re moved by unheard music To step in time and play the part With velvet voices smooth and cold Their power games a game no more And long the chance to use it
And those who dance will spin and turn And those who wait will wait no more And those talk will hear the word And those who sneer will fade and die And those who laugh will surely fall And those who know will always feel their backs against the thin wall The thin wall Thin wall The thin wall
And those who dance The thin wall And those who talk The thin wall And those who sneer The thin wall And those who laugh The thin wall And those who know The thin wall And those who dance The thin wall And those who wait The thin wall And those who talk
Again, simply astounding. Words that actually mean something. Or, again, “Accent on Youth”:
What is this phase that I am going through O these precious years Please take my hand and let me breathe again Young depressive tears
We stumble blindly chasing something new and something sinful You take my time you live my life for me What have I done to rate this penalty You suck me dry My body cries We stumble blindly chasing instant thrills and lasting memories
Accent on youth Attention Ascends on you
I scream with frustration and lost control Open for the blows My hands fall limp and hang down by my side Take my soul and go We stumble blindly chasing dancing lights and others’ wishes
Just let me close my eyes and slip away Dream a dream alone You give me just enough rope for the task Let this man alone We stumble blindly chasing silhouettes and vacant faces So well rehearsed our moves once so graceful turn against us
We stalk dark passages, we’re looking for that sweet surrender Just let me close my eyes and slip away Dream a dream alone You give me just enough rope for the task
Let this man alone We stumble blindly chasing silhouettes and vacant faces So well rehearsed our moves once so graceful turn against us We stalk dark passages, we’re looking for that sweet surrender
After thirty-plus years of listening to these words, they still mean everything to me. If I had to find a comparison, I would say that, at the time, only The Fixx were writing lyrics as beautifully wrought and perfectly written for the angular music they were producing.
Tad: Kevin, now that you point it out, of course Ure must have been influenced by The Edge in his guitar style! His choppy, rhythmic lines are very similar to The Edge’s, yet still original. And his solos are so good – flowing and ascending inexorably to a satisfying conclusion. His solo on “Death in the Afternoon” is breathtaking.
Brad, thank you for sharing the lyrics to these songs. As many times as I’ve listened to this album, I’ve never delved into them very far. To me, they always conjured an overall atmosphere of drive and energy, while sounding somewhat claustrophobic (and I mean that in a good way).
I love the way Rage In Eden is sequenced – for example, after the slow dirge of the title track, “Death in the Afternoon” bursts out with incredible energy. The music of that track is paradoxically life-affirming, given its title. And how about the transition from the album’s longest song, “The Stranger Within” to “Accent on Youth”? The former song is one long, relentless groove with subtle synth accents in the background that hypnotically lulls the listener into a relaxed state, until the rapid beat of “Accent on Youth” ups the energy again with a beautiful melody sung with pure joy by Ure. That transition might be my favorite moment of the album.
However, I can’t pick a favorite song, because each one hinges on the next to create an organic whole. I think Conny Plank deserves a lot of credit for the frankly beautiful sound of this album. There is a depth to the soundstage that reveals new and delightful details in the mix. At times it is a massive wall of sound (“The Voice”), and at other times it is a wide-open space, (“Your Name Has Slipped My Mind Again”).
One last point I’d like to make – the album art is some of my all-time favorite. Peter Saville, who also worked with New Order and Factory records, came up with a gorgeous art deco style for Rage In Eden that complements the music perfectly. (See above) It looks sleek, modern, ancient, and classical all at the same time. Due to legal issues, his artwork that graced the 1981 vinyl version wasn’t used on a couple of reissues, but Chrysalis has recently reissued a 5 CD/DVD version that has the original art.
Brad: Tad, you’re most welcome! Good lyrics mean everything to me. So glad to know there are good writers out there. Ultravox is definitely among the best when it comes to words and lyrics. If, as Kevin said, the guitar is angular, so are the words and images the band presents.
And,Tad, I agree with you regarding the organic whole. Every song relies on every other song. A definite completeness to Rage in Eden.
Kevin, I hadn’t thought about The Edge getting his sound, in part, from Ultravox. But, as you pointed out, we do know that Rush was influenced by Ultravox. You can really hear it on “Vital Signs” on Moving Pictures and really all of Signals.
Kevin: I don’t doubt their influence on other bands and songwriters of the time. Ure didn’t invent the chopped chord technique—reggae and ska were everywhere in the English scene—but he brought into it his own colors within the context of the atmospheric keyboard parts. That blend IS the UV sound. And he was also working more with minor chords and almost jazzy voicings. That along with the mostly dry engineering, creates a sort of cubist tapestry.
Which is what makes the final track so striking. “Your Name Has Slipped My Mind Again” is drenched in reverb, echo, and sustain. It’s like a freeze frame at the end of an intense film but the credits don’t flow. Instead, it continues for four-and-a-half minutes frozen in time. None of the parts are synced until the refrain is sung. And then all you can recall of the lyric is the title line and the passionate “oh ohs.”
Which brings me back to the dramatic nature of the writing. He places you in a narrative that leaves you wondering, yet there is a clarity to the storyline. It’s not all smoke and mirrors—or Duran Duran-y drama for drama’s sake. As it concludes you have the distinct feeling that you’ve arrived somewhere with the narrator: somewhere quite mysterious, yet beautiful.
And this cinematic sensibility (which begins with the arrival of Midge Ure on Vienna (1980)) has Ultravoxcreatinggreat art and continuing the development of progressive rock. They pick up where Yes’s Drama (1980) leaves off and take the genre somewhere utterly new. Though at the time of the release of Rage in Eden Chris Squire and the boys were working on their own new band, Cinema, (which eventually drew in Jon Anderson and morphed into Yes’s90125) theirs was more of radio-friendly rock. Concurrently Genesis was heading into similar territory with Abacab and Genesis (1983). Ultravox, along with a handful of other like-minded groups, were much more the avant garde creativists and the real inheritors of the progressive rock aesthetic. Less than five years after the release of Ultravox’s Lament, Talk Talk would release their post-rock masterpiece Spirit of Eden.
Which reminds me—I’m glad that you focused in on the lyrics, Brad. Because there is something so compelling about Ure’s writing and the way he brings his sensibilities to each subject. There is a unique sense of place for each individual track on Rage in Eden. If you examine the tracks carefully in sequence you’ll notice that each one has either a slightly or sometimes greatly differing cadence. Which leads to another striking element on the album—the variety in the groove. Even though three of the tracks share a close tempo it’s never in sequence and the other six tunes are quite varied.
It’s interesting, Tad, that you mentioned the transition between “The Stranger Within” and “Accent on Youth.”Rage in Eden really shines in those transitions—like scene changes.
And remarkably, despite it being a classic New Wave album, it’s clear that at least the final track was recorded without a click track. The tempo imperceptibly varies a great deal—as much as 7bpm faster and slower and in that ethereal space. Yet Ure’s vocal, the drum, and the keyboard are pretty tightly in sync after the intro. Which makes it likely that at least these main parts were recorded live in the studio and not overdubbed. Coming on the heels of the incredible ascending key modulations at the end of “Accent on Youth” (one of my favorite musical moments on the whole album), into the great violin solo called “The Ascent”, then the cascading piano and the revved-up glissando at its culmination and suddenly…it cuts off into an echoing gunshot. The variability in the final track’s tempo along with the removal of the rhythmic pulse casts the listener into space—adrift—off a cliff and in descent. It’s one of the most powerfully visual moments on the whole record. A riveting conclusion to the whole album.
Tad: Beautiful insights, Kevin! Midge Ure himself would agree with you; he is quoted as saying, “I think ‘Rage in Eden’ was always one of my favourite albums. There’s a starkness about it, an austere, mystical distance, a coldness to it but a coldness that kind of works.”
I think with that, we can bring our celebration of Rage In Eden to a close. Even though it didn’t chart above 144 in the US, it had a huge influence on the New Wave music scene internationally. I hope our conversation has given Spirit of Cecilia readers some incentives to check out this classic work from the early 80s!
Alongside Luke Machin and Dan Nelson, the second Cyan album will be released on Nov 17th 2023. Video for “Broken Man” out now!
Keyboardist and composer Rob Reed, known for his work with Magenta, Kompendium and Sanctuary solo albums, has once again joined forced with Peter Jones, along with Luke Machin and Dan Nelson for a new Cyan album titled Pictures From The Other Side. The second album from the resurrected project is due out on the 17th of November 2023. The new album contains 6 songs, including the epic 17-minute track ‘Nosferatu’. The CD is accompanied by a DVD with a full 5.1 surround mix of the album and a live acoustic performance of songs from the previous album For King And County.
Cyan was originally formed by Robert Reed (Magenta) when in school, back in 1983. After recording some demos at a local studio, the band went their separate ways. Years later, those demos led to the release of ‘For King And Country’ on the Dutch SI music label. It was the first of three Cyan albums released in the 1990s before the project was shelved and Rob went on to form Magenta.20 years later Rob Reed, along with a killer line-up, decided to brush off the cobwebs and successfully release a completely re-worked version of the ‘For King And Country’ album. Cyan has since performed at the 2023 Night Of The Prog festival in Germany, and at the 2022 Summers End and Fusion festivals in the UK.
Rob Reed: “I remember that the first Cyan album ‘For King And Country’ was written when I was still in school with a band I formed with some school friends. After I left school, we went our separate ways and it was several years later that I was approached by the record company. After the success of the first album, they wanted a follow-up so I wrote new material for what became ‘Pictures From The Other Side.’ It was more song-based, but included a couple of long epics.
Obviously, I was influenced by the classic Prog of Genesis and Yes when writing this originally, but I was also listening to a lot of other bands of the time like It Bites, Simple Minds and Marillion. It’s been great to finally hear this material played by this line-up, it’s a completely different album. Re-written, re-recorded and re-arranged. Hopefully, I’ve brought to the album, everything I’ve learned in my career.
Pete Jones: “It’s a joy to be involved in the ongoing resurrection of the Cyan canon and the vision Rob has for these new interpretations. As a vocalist, there’s so much to work with on the new album, with epics like “Broken Man,” which really let me dig deep into my inner Genesis prog vocals. The title track has some great hooks, as does the rest of the album. Tracks like the dark but beautiful “Solitary Angel,” and the vampire world of “Nosferatu,” really call for some vocal gymnastics where I can stretch myself and really go for it. Then there’s “Follow The Flow,” which is just gorgeous. As with all Rob’s stuff, it’s the feeling and emotions which are key to the whole thing. I hope I’ve managed to do my bit with the vocals.
We’ve now got a few gigs under our belt, including the recent fabulous time we all had at Night Of The Prog in Loreley. That was a real highlight of the year for me. The live band is sounding really great, with Luke, Dan, Jiffy and the man himself Rob Reed all at the top of their game. As well as doing the vocals, I play sax and whistles, and rhythm guitar which Rob asked me to do in a moment of madness. Ha-ha. All being well, we’ve got some rather special shows in the pipeline for next year. So I’m looking forward to the album coming out, and taking it to the stage!”
CD tracklisting: 1- Broken Man 2- Pictures From The Other Side 3- Solitary Angel 4- Follow The Flow 5- Tomorrow’s Here Today 6- Nosferatu
DVD consists of: Full album in Dolby Digital and dts 5.1 surround Promo videos The Quiet Room session (live acoustic performance) 1- I Defy The Sun 2- Don’t Turn Away 3- Call Me 4- Man Amongst Men/The Sorceror 5- Snowbound 6- For King And Country Pre-order ‘Pictures From The Other Side’ here: https://tigermothhosting.co.uk/CYANCD2023/
A large pro-Palestine rally in Paris today attracted thousands even though the government said the gatherings were banned amid a surge in antisemitic attacks. The protesters vandalized historic French monuments. pic.twitter.com/TvbsuxNZDV
“The U.S. may now be less interested in Islamist extremists than in China and Russia, but that does not mean the Islamist extremists have lost interest in us. Their lust for blood is undiminished. As soon as they have an opening, they will strike. “
ABSOLUTELY TRUE. THIS IS TRULY THE LONG WAR and the CLASH OF CIVILIZATIONS. Putin will die, sooner or later, and become a footnote in history. Russia will recede into the sick man of Europe that it is. But HAMAS hopes to become MARYTRS for the ages -and who knows they might be. Like a poisonous weed, it will be difficult to extirpate them entirely. Remember the enemy is within -PALESTINIANS have emigrated all over the world. All we can hope to do is cull the herd periodically IMHO. But I would place my money on the Jews -they are smart, brave, rich, and united. They have many many friends and admirers. ISRAEL HAS ENDURED AND WILL ENDURE. So many Empires oppressed the Jews and they are all in the trash bin of history now. WHY? Because MONEY and POWER are not enough and because WISDOM is superior to terror and GOOD WILL TRIUMPH OVER EVIL. HAMAS IS EVIL. PRAISE THE LORD and pass the ammunition. We are going to need plenty of both if we (Western Civilization) are going to survive this century. If we are wise we will have plenty of both. JUSTICE WITH COURAGE as a Jew taught me IS WORTH TEN THOUSAND MEN. great article. INFORMATIVE, SOBER and WISE!
Photo Credit: Steve RoodProg-pop cult heroes The Mommyheads have released the most ambitious album of their nearly four-decade career, CONEY ISLAND KID, out now via FANFAR! Records in Europe and Mommyhead Music for the rest of the world. 
THE MOMMYHEADS
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